1994年9月,我在一种特殊的背景下接受了执导电视连续剧《中国空姐》的任务。当时在我面前摆着三个难题;时间紧、缺乏生活、演职员的创作班子组合没有主动权,或者说主动权太小。在此,最关键的问题是我们已经没有可能重新深入生活,我对空姐的认识只能借助于文学剧本这一狭小的范围。这给《空姐》在艺术形态、艺术处理的理论性定位带来了难度。 In September 1994, I accepted the task of directing the TV series “China Flight attendant” under a special background. At that time, there were three problems before me; time was tight and lack of life. There was no initiative for the composition of the credits of the credits, or the initiative was too small. Here, the most crucial issue is that we have no chance of regaining our lives. My understanding of the flight attendants can only be aided by the narrow scope of the literary script. This gives “stewardess” difficulty in the theoretical positioning of artistic forms and art processing.